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NOW FOR YOUR VIEWING PLEASURE…
The Swingers – Counting The Beat
Label: Backstreet Records – BSR-5328
Format: Vinyl, LP, Album, Stereo, Pinckneyville Pressing
Country: US
Released: 1982
Genre: Rock, Pop
Style: New Wave, Punk, Indie Rock, Alternative
Tracklist
A1 Counting The Beat 2:47
A2 It Ain't What You Dance It's The Way You Dance It 2:48
A3 One Good Reason 2:48
A4 Love Sick 2:54
A5 The Flak 3:40
B1 More 2:50
B2 Hit The Beach 3:56
B3 One Track Mind 3:17
B4 Five O'Clock Shadow 3:37
B5 True Or False 4:12
Recorded At – Music Farm Studios
Mixed At – Electric Lady Studios
Remixed At – Whitney Recording Studios
Pressed By – MCA Pressing Plant, Pinckneyville
Manufactured By – MCA Distributing Corporation
Distributed By – MCA Distributing Corporation
Published By – Emu Music
Copyright © – Backstreet Records
Phonographic Copyright ℗ – Backstreet Records
Bass, Vocals – Dwayne (Bones) Hillman*
Brass – The Brecker Brothers
Composed By – The Swingers
Drums – Ian (Killjoy) Gilroy*
Mastered By – Steve Hall
Producer, Engineer – David Tickle
Strings – Ian Masonola
Vocals, Guitar – Philip (Bud) Judd*
© 1979 Backstreet Records Inc. © 1982 Backstreet Records, a Division of MCA Records Inc. ℗ 1981 ℗ 1982
MCA Pressing Plant, Pinckneyville - Denoted by "◈-P-◈" stamped in runouts.
Recorded at Music Farm Studios, NSW. Australia.
Mixed at Electric Lady Studios, New York.
Remixed at Whitney Studios, Glendale, CA.
Variant
Matrix / Runout (Side A runout, variant 1): MCA-3102-W4 MCA81 ◈-P-◈
Matrix / Runout (Side A runout, variant 2): MCA-3102-W4 ◈-P-◈
SOUND TESTED / BUYER APPROVED
RECORD IS EX > NM-
(UNUSUAL VARIANT MATRIX)
COVER IS VG > VG+
(seam split across top of the back of the cover, crease to back bottom)
YOUR SATISFACTION IS GUARANTEED
VIDEO IS FOR EXAMPLE ONLY
THE FOLLOWING IS A RECORDED EXAMPLE, NOT ACTUAL
https://www.youtube.com/watch?v=WvxSfAv50aQ&ab_channel=TheSwingers-Topic
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FYI
The Swingers were a New Zealand rock band who were together from 1979 to 1982 and whose biggest single was the song "Counting the Beat".
Background
Formed out of the remnants of the Suburban Reptiles, the founding members were Phil Judd (guitar, vocals), Wayne Stevens (a.k.a. Bones Hillman) (bass), and Mark Hough (a.k.a. Buster Stiggs) (drums). Formed in 1979, the band released the single "One Good Reason", which was a top 20 hit in New Zealand. They also appeared on the Ripper Records sampler AK79 and established a large live following after a residency at Auckland's Liberty Stage club.
In 1980 the band moved to Australia and signed to Mushroom Records for that country, although their New Zealand releases remained on Ripper.
Success
After some band dissension, Ian Gilroy of the Crocodiles replaced Hough on drums. The band released the single "Counting the Beat", which became a No. 1 hit in Australia and New Zealand. A second single released in 1981, "It Ain't What You Dance, It's the Way That You Dance It" (which had the outro repeat line "oh yeah, oh yeah, oh yeah yeah yeah yeah yeah"), was also a Top 5 hit in New Zealand but only a minor hit in Australia (reaching #43). An album, Practical Jokers, produced by David Tickle, was released. The band also performed songs in the film Starstruck.
Breakup
The band underwent a couple more line-up changes, including the addition of Pop Mechanix and Coconut Rough vocalist Andrew Snoid, before it split up in March 1982. Phil Judd went on to pursue a solo career.
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New wave is a music genre that encompasses pop-oriented styles from the late 1970s and the 1980s. It is considered a lighter and more melodic "broadening of punk culture" that usually includes the use of synthesizers. It was originally used as a catch-all for the various styles of music that emerged after punk rock, including punk itself. Later, critical consensus favored "new wave" as an umbrella term involving many popular music styles of the era, including power pop, synth-pop, alternative dance, and specific forms of punk rock that were less abrasive. It may also be viewed as a more accessible counterpart of post-punk.
A number of common characteristics of new wave music include a humorous or quirky pop approach, angular guitar riffs, jerky rhythms, the use of electronics along with a distinctive visual style in fashion and music videos. In the early 1980s, virtually every new pop/pop rock act – and particularly those that employed synthesizers – were tagged as "new wave". Although new wave shares punk's do-it-yourself philosophy, the artists were more influenced by the styles of the 1950s along with the lighter strains of 1960s pop and were opposed to the generally abrasive, political bents of punk rock, as well as what was considered to be creatively stagnant "corporate rock".
New wave commercially peaked from the late 1970s into the early 1980s with numerous major artists and an abundance of one-hit wonders. MTV, which was launched in 1981, heavily promoted new-wave acts, boosting the genre's popularity. In the mid-1980s, new wave declined with the emergence of the New Romantic, New Pop, and New Music genres. Since the 1990s, new wave resurged several times with the growing nostalgia for several new-wave-influenced artists.
Characteristics
New wave music encompassed a wide variety of styles that shared a quirky, lighthearted, and humorous tone that were very popular in the late 1970s and 1980s. New wave includes several pop-oriented styles from this time period. Common characteristics of new wave music include a humorous or quirky pop approach, the use of electronic sounds, and a distinctive visual style in music videos and fashion. According to Simon Reynolds, new wave music had a twitchy, agitated feel. New wave musicians often played choppy rhythm guitars with fast tempos; keyboards, and stop-start song structures and melodies are common. Reynolds noted new-wave vocalists sound high-pitched, geeky, and suburban.
As new wave originated in Britain, with bands such as G.I. Orange, many of the first new wave artists were British. These artists became popular in America, in part, because of channels like MTV, which would play British new wave music videos because most American hit records did not have music videos to play. British videos, according to head of S-Curve Records and music producer Steve Greenberg, "were easy to come by since they'd been a staple of UK pop music TV programs like "Top of the Pops" since the mid-70s." This rise in technology made the visual style of new wave artists important for their success.
The majority of American, male, new wave acts of the late 1970s were from Caucasian, middle-class backgrounds. Scholar Theo Cateforis said these acts intentionally presented these exaggerated, nerdy tendencies associated with their "whiteness" to criticize it and to reflect their identity. A nervous, nerdy persona was a common characteristic of new wave fans, and acts such as Talking Heads, Devo, and Elvis Costello. This took the forms of robotic dancing, jittery high-pitched vocals, and clothing fashions that hid the body such as suits and big glasses. This seemed radical to audiences accustomed to post-counterculture genres such as disco dancing and macho "cock rock" that emphasized a "hang loose" philosophy, open sexuality, and sexual bravado.
Although new wave shares punk's do-it-yourself artistic philosophy, the artists were more influenced by the light strains of 1960s pop while opposed to mainstream "corporate" rock, which they considered creatively stagnant, and the generally abrasive and political bents of punk rock. In the early 1980s, particularly in the United States, notable new wave acts embraced a crossover of pop and rock music with African and African-American styles. Adam and the Ants and Bow Wow Wow, both acts with ties to former Sex Pistols manager Malcolm McLaren, used Burundi-style drumming. Talking Heads' album Remain in Light was marketed and positively reviewed as a breakthrough melding of new wave and African styles, although drummer Chris Frantz said he found out about this supposed African influence after the fact. As the decade continued, new wave elements would be adopted by African-American musicians such as Grace Jones, Janet Jackson, and Prince, who in particular used new wave influences to lay the groundwork for the Minneapolis sound.
(THIS PICTURE FOR DISPLAY ONLY)
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